Low crazing extender for pouring Acrylic colours.

This product dramatically speeds up the drying time for oil paint and is ideal for use when working on a wet-on-wet painting. This product helps to ‘wet’ or thin the oil paint for a smoother ink like consistency.

Jackson’s Wet-In-Wet Fast-Dry Oil Painting Medium creates an even paint film without dry spots. It thins paint without making it brittle and allows paint to be moved without the colour becoming muddy. Wet-in-Wet medium gives a slightly glossy finish to a dry painting.

It is advised to store Jackson's Oil Medium at a stable temperature. Storage in an overly hot or cold environment will affect the consistency of the product.

Available in 2 sizes: 250ml and 500ml

Jackson's Wet in Wet Oil Paint Medium should be quite a fluid medium.

Maintenance of Alkyd Mediums - Like all alkyd-based mediums, the introduction of air space in the bottle allows for solvent evaporation and drying - even with the lid closed. To compensate, add a little solvent of your choice to the bottle immediately after use and shake it well to maintain the desired thickness of the medium. We tested a variety of types of solvent and they all worked.

Rescuing Thickened Alkyd Medium - If your painting medium has thickened but is still fluid, add in a small amount of solvent and shake thoroughly. Continue adding more solvent and shaking until the medium is close to its original consistency. If a fluid alkyd painting medium has thickened to a gelled consistency, it will no longer help to add solvent - unfortunately it cannot be rescued.

Transparent gel for use with acrylic colour to increase viscosity and transparency. Apply straight to canvas for heavy impasto. Retards the drying time of colours. Vehicle: Acrylic Polymer Emulsion. Conforms to USA Standard ASTM D-4238pdf=Gel_Medium.pdf Material Safety Data Sheet

Forms a very flexible film with excellent resistance to water, erosion and UV light. Dries transparent. Can be used for glazing or increasing body. Vehicle: Acrylic Polymer Emulsion. Conforms to USA Standard ASTM D-4238pdf=Heavy_Gel_Gloss.pdf Material Safety Data Sheet

Forms a very flexible film with excellent resistance to water, erosion and UV light. Dries transparent. Can be used for glazing or increasing body. Vehicle: Acrylic Polymer Emulsion. Conforms to USA Standard ASTM D-4238pdf=Heavy_Gel_Matt.pdf Material Safety Data Sheet

Shake well before use. Quick drying, flexible and UV resistant. Use to thin paint for increased flow and transparency. Do not use as a final varnish. Made from 100% acrylic resin. Conforms to USA Standard ASTM D-4238pdf=Fluid_Matt_Medium.pdf Material Safety Data Sheet

Lascaux Water Resoluble Medium is a bonding agent designed for creating water-soluble colours such as gouache or watercolours. It dries to yield a water-soluble and matt finish and can also be used as a painting medium for Lascaux Aquacryl and Gouache.

Composition: Vegetable oils, synthetic resins and water.  Purpose: Increasing the flow and/or transparency, makes the paint fatter.Qualities:• Makes the brush stroke run slightly • Increases the gloss and transparency • No influence on drying time of the paint• Increases the durability of the paint film• Can be thinned with water•Yellows slightly A great video from Cobra that explains the different uses for the three painting mediums and how they can help you maintain the 'fat-over-lean' principle: youtube=pMz5vuG0FhIpdf=CobraGlazingMediumSDS.pdf Safety Data Sheet for Cobra Glazing Medium.

Schmincke Aqua Watercolour Lift-Off Medium is applied to watercolour paper before it is painted upon to allow dried colour to be removed, modified or corrected. It is especially useful for watercolours that stain easily which ordinarily would be difficult to remove. The medium must be applied before colour is applied. If you are using very soft, textured watercolour paper the medium will need to be applied purely, for papers which have a stronger sizing the medium should be thinned with water. Testing on a small area/scrap bit of paper before use is recommended. As the Lift-Off Medium dries to a water-insoluble film, it should not be mixed directly with watercolour paint in pans. Cleaning of brushes and tools is recommended soon after use with water and soap.The Lift-Off Medium comes in a 60ml bottle. Read more about the Lift-Off Medium on our blogpdf=SchminckeaquaLiftoffMedium.pdf More Informationpdf=Schmincke_Lift_Off_SDS.pdf Safety Data Sheetyoutube=gNzmXRhbI8g 

The Schmincke Transparent Watercolour Ground allows watercolour painting on grease-free surfaces such as canvas, painting boards, wood as well as on acrylic paintings in which the surface remains visible. The absorbent ground forms an even, matt, elastic and age resistant film. Can be overpainted (or tinted beforehand) with watercolours, gouache or acrylic colours. Available in 250 ml and 500 ml bottles.pdf=Schminckewatercolourgroundtransparent.pdf More Informationpdf=schminckewatercolourgroundtransparentSDS.pdf Material Safety Data Sheetyoutube=IuOTWlXuj9s

Composition: Vegetable oils and thickening agents.  Purpose: Increasing the transparency, while retaining the viscosity.Qualities:• Increases the transparency• Degree of gloss is retained • No influence on drying time of the paint• Increases the durability of the paint film• Can be thinned with water• Yellows slightly A great video from Cobra that explains the different uses for the three painting mediums and how they can help you maintain the 'fat-over-lean' principle: youtube=pMz5vuG0FhI

Composition: Vegetable oils, synthetic resins and water. Purpose: Increasing the flow and/or transparency, makes the paint fatter.Qualities:• Increases the gloss and transparency• Makes the brush stroke run slightly• No influence on drying time of the paint• Increases the durability of the paint film• Can be thinned with water• Yellows slightlyA great video from Cobra that explains the different uses for the three painting mediums and how they can help you maintain the 'fat-over-lean' principle: youtube=pMz5vuG0FhI

Vallejo Silicone Oil Cell Flow Medium is useful to create cell like formations in your acrylic pour paintings. It is a silicone oil that disperses the paint beautifully and creates unique and wonderful effects.1- Add 1-2 drops to every 30ml of ready to apply pour colour2- Gently mix with a stirrer or knife - less mixing means bigger cells3- Release the cells created by the oil by gently skimming the surface to not over stroke or cells will be lost4- If you wish to create further layers once dry wipe the surface to remove excess oilFor more information and tips on this technique, read our Pour Painting articles on our blog.

Sennelier’s Gum Arabic is sourced from the finest gum that Kordofan in Sudan has to offer. It is retained in its raw natural state. The large chunks should be dissolved in cold water slowly and gently in order to preserve the gum’s maximum binding strength. The solution should be stirred frequently during the dissolving process. Once dissolved, a solution very rich in resin is obtained. Gum Arabic is an ideal binder for gouache and watercolour.

When mixed with Akua Intaglio, Akua Ink Stiffener adds depth to and stiffens the ink. - Use for relief and intaglio plates that require a stiffer ink as well as letterpress and viscosity printing. It is clear/white in colour with a very stiff consistency. Cleans up with liquid dish detergent. Not suitable for use with Akua Liquid Pigment. Before mixing with colour, work the Mag Mix with a knife until smooth, then add the Intaglio ink into the Mag Mix. Start off with small amounts until the desired thickness is achieved.

Liquid Extender is used to thin Akua Liquid Pigment if it has become too thick - for instance, it will re-constitute “air thickened” ink. Can be used with Akua Liquid Pigment but not with Akua Intaglio Ink. It - has a thick consistency and is transparent in colour. - Adding water to Akua Liquid Pigment Inks is not advisable as water will cause ink to dry on the monotype plate and prevent it from releasing onto dry paper. Use the Extender directly with the colours on the palette that have become too thick. It can also be added to Akua Liquid Pigment to dilute it and create more transparency without having an effect on the consistency.

Tack Thickener thickens Akua Liquid Pigment and also adds gloss for heavier roll-up applications. It can be used for creating denser Akua Liquid Pigment roll-ups onto monotype plates or woodblocks. It is medium amber in colour with a thick consistency. Soap and water clean-up. Adding Tack Thickener to the Akua Liquid Pigment makes it feel more like an oil-based ink. It also helps to keep the ink on the surface of the paper so that it remains vibrant after it dries. The Liquid Pigment will have a different working quality when Tack Thickener has been added, when drawing into the inked surface of the plate it makes the ink wipe away with less tonal variations. This means you will have clean, sharp lines when creating reductive monotypes. - The Liquid Pigment should be poured into the Tack Thickener at a ratio of between 20-40% Tack Thickener to Pigment. Any more than this and the ink will start to become grainy. A very small amount of Tack Thickener should be used with Liquid Pigment for brushwork. - Application:Roll out the tack thickened ink with a soft rubber brayer on a seperate ink slab. Once the brayer is evenly coated, roll and transfer the ink onto the monotype plate.

Blending Medium is used with both Akua Liquid Pigment and Akua Intaglio Ink. It is used to thin the ink for brushwork, wash effects or use it as a resist for viscosity monotypes. It is a clear, colourless liquid which cleans up with water. It can be used to create a wet on wet look, wash effects and blends on monotype plates and paper. To do this, apply the Blending Medium directly onto the monotype plate, brush the colour over the Blending Medium and blend as desired.

The Akua Retarder has two purposes. A few drops mixed into Akua Liquid Pigment helps transfer ink onto dry paper during the printing process. It can also be added to Akua Liquid Pigment to prevent the ink from drying on the monotype plate thereby extending the working time of the ink. - A clear liquid, it is ideal for hot, dry or very cold studio conditions. Only a tiny amount is needed, too much will cause the ink to bead. It is not suitable for use with Akua Intaglio Inks. Easy clean up with water. -

A low viscosity medium perfect for creating translucent glazes. Slightly extends open time and is waterproof when dry. Mix with paint for added translucency with a rich oil-like gloss sheen. Promotes flow and levelling.This product is part of the Atelier Traditional range.The Atelier Traditional painting range allows you to use traditional acrylic techniques that have been evolving since 1965. The Atelier Traditional mediums are made of an acrylic binder that dries quickly and forms a tough water resistant skin.You can combine the Atelier Interactive range and Atelier Traditional range to create unique and interesting effects within the same painting.

This gel medium exaggerates structure and sharpens textural edges of the paint. It can be used as a very strong adhesive for bonding objects in mixed-media work. It can be mixed with the paint, overpainted once dry or applied on top of a paint layer for a translucent textural effect.

Ateliers Universal Medium is a medium and varnish rolled into one.How To Use As a MediumThere are too many mediums on offer for use with acrylics. This medium does nearly all of the techniques that you could need if you are painting in fast quick layers. However, if you want heavy impasto you will still need to use Heavy Gel or Moulding Paste.Decant some of the concentrate into a small container that you can dip your brush into.You will like the feel of the paint when the medium is added to it and you will notice that it allows you to blend and feather edges very effectively because the medium is not sticky on the brush.Small additions to thick paint will loosen the consistency while more medium creates a very attractive glazing or layering mixture which can be over painted when touch dry.How To Use As A VarnishSolvent based varnish has a strong smell because of the turps, but usually looks better than a water based one and is easy to apply.The Atelier Interactive Universal Medium/Varnish when used as a water based varnish is comparable to solvent varnish. It is very easy to apply. It gives the colour saturation and enhancement of a good solvent based varnish. By adding water to the concentrate different levels of sheen can be created between low sheen and high gloss.Artists should experiment with color swatches to decide on the finishes that they prefer.Apply a seal coat one part varnish two parts water. This allows the varnish to penetrate and seal the paint layer so that a more concentrated varnish can be spread easily when the seal coat is dry.If you want a high gloss finish the full concentrate can be used over the seal coat and two or more coats can be used to exaggerate gloss as required.For a subtle finish you might decide that the seal coat is all that you need or you might apply another diluted coat to create a satin finish which is more attractive than a satin varnish containing a flatting agent.How To ApplyPlace your painting in a sloping position so that you can pick up the runs or dribbles. You can work back and forth while the varnish is wet because it does not catch on the brush.This product is part of the Atelier Traditional range.The Atelier Traditional painting range allows you to use traditional acrylic techniques that have been evolving since 1965. The Atelier Traditional mediums are made of an acrylic binder that dries quickly and forms a tough water resistant skin.You can combine the Atelier Interactive range and Atelier Traditional range to create unique and interesting effects within the same painting.

A very thick and textural paste made from calcite grit. It has the same flexibility as the paint and is used to create strong textural interest at any stage in a painting's process. Dries white and can be mixed with the paint to produce a coloured ground, or painted over once dry.

A paint additive designed to slow down the drying time of acrylic paint. It may be added to other Atelier mediums to increase open time. Note: Retarder does not contain a binding agent so to avoid creating an unstable mixture, it is recommended to mix no more than 10% with acrylic paints.pdf=MSDS-Atelier-Retarder-Medium.pdf Safety Data Sheet

The Atelier Pouring Medium is designed so you can create acrylic pouring paintings. Acrylic pouring involves pre mixing fluid acrylics and acrylic ink with a pouring medium and then pouring it over a panel or canvas to create gorgeous abstract patterns or landscapes. This pouring medium can be mixed with any fluid acrylic, artist acrylic paint or with acrylic inks. The medium allows you to pour your mixes easily and forms a smooth, self-levelling surface without trapped air or bubbles. It increases colour transparency and this means you are able to produce more interesting paint layers. It dries to a gloss finish and is waterproof, flexible and durable when dry. The medium dries clear meaning any work will be slightly darker upon drying.

If you want to further reduce the risk of air bubbles when pre mixing your medium and acrylic colour stir slowly. For the best results it is worth priming your substrate with gesso or a binder medium. You can use Atelier Unlocking formula to break any bubbles on the surface of the painting and to change the surface tension.

This product is part of the Atelier Traditional range.

The Atelier Traditional painting range allows you to use traditional acrylic techniques that have been evolving since 1965. The Atelier Traditional mediums are made of an acrylic binder that dries quickly and forms a tough water resistant skin.

You can combine the Atelier Interactive range and Atelier Traditional range to create unique and interesting effects within the same painting.

This is a 250ml bottle of Atelier Pouring Medium.